Film Review – THE POSEIDON ADVENTURE (1972)

THE POSEIDON ADVENTURE (1972, USA, 117m, PG) ****
Action, Adventure
dist. Twentieth Century Fox; pr co. Twentieth Century Fox / Irwin Allen Productions / Kent Productions ; d. Ronald Neame; w. Stirling Silliphant, Wendell Mayes (based on the novel by Paul Gallico); pr. Irwin Allen; ph. Harold E. Stine (DeLuxe | 2.39:1, 2.20:1 (70mm prints)); m. John Williams; ed. Harold F. Kress; pd. William J. Creber.
cast: Gene Hackman (Reverend Scott), Ernest Borgnine (Mike Rogo), Red Buttons (James Martin), Carol Lynley (Nonnie Parry), Roddy McDowall (Acres), Stella Stevens (Linda Rogo), Shelley Winters (Belle Rosen), Jack Albertson (Manny Rosen), Pamela Sue Martin (Susan Shelby), Arthur O’Connell (Chaplain), Leslie Nielsen (Captain Harrison), Eric Shea (Robin), Fred Sadoff (Linarcos), Sheila Allen (Nurse (as Sheila Mathews)), Jan Arvan (Doctor Caravello), Byron Webster (Purser), John Crawford (Chief Engineer), Bob Hastings (M. C.), Erik L. Nelson (Mr. Tinkham).
Ocean bound from New York City to Greece on New Year’s Eve, the luxury passenger ship the S.S. Poseidon is capsized by a tidal wave. With the captain (Nielsen) dead, a group of surviving passengers, led by the passionate clergyman (Hackman), struggle through numerous obstacles and a labyrinth of ladders and tunnels in a desperate attempt to reach the surface through the ship’s hull. Following 1970s AIRPORT, this was the movie that set the benchmark for the disaster cycle of the 1970s and made Irwin Allen the king of the blockbuster. The impressive all-star ensemble cast ensures investment in the characters as well as the spectacle. Hackman and Borgnine (as a former cop) are particularly impressive in their antagonistic roles, Whilst Stevens has fun as Borgnine’s reformed hooker wife. Winters gained weight, which is thoughtlessly referenced on numerous occasions by other characters, specifically for her role. Excellent production design and tight direction by Neame help make this an exciting and tense affair. Followed by BEYOND THE POSEIDON ADVENTURE (1979) and remade for TV in 2005 and again for theatrical release as POSEIDON in 2006.
AA: Best Music, Original Song (Al Kasha, Joel Hirschhorn for the song “The Morning After”); Special Achievement Award for visual effects (L.B. Abbott, A.D. Flowers).
AAN: Best Actress in a Supporting Role (Shelley Winters); Best Cinematography (Harold E. Stine); Best Art Direction-Set Decoration (William J. Creber, Raphael Bretton); Best Costume Design (Paul Zastupnevich); Best Sound (Theodore Soderberg, Herman Lewis); Best Film Editing (Harold F. Kress); Best Music, Original Dramatic Score (John Williams).

Film Review – EARTHQUAKE (1974)

EARTHQUAKE (1974, USA, 123m, PG) ***
Action, Drama, Thriller
dist. Universal Pictures (USA), Cinema International Corporation (CIC) (UK); pr co. Universal Pictures / The Filmakers Group; d. Mark Robson; w. George Fox, Mario Puzo; pr. Mark Robson; ph. Philip H. Lathrop (Technicolor | 2.35:1); m. John Williams; ed. Dorothy Spencer; pd. Alexander Golitzen; ad. E. Preston Ames.
cast: Charlton Heston (Graff), Ava Gardner (Remy), George Kennedy (Slade), Lorne Greene (Royce), Geneviève Bujold (Denise), Richard Roundtree (Miles), Marjoe Gortner (Jody), Barry Sullivan (Stockle), Lloyd Nolan (Dr. Vance), Victoria Principal (Rosa), Walter Matthau (Drunk (as Walter Matuschanskayasky)), Monica Lewis (Barbara), Gabriel Dell (Sal), Pedro Armendáriz Jr. (Chavez), Lloyd Gough (Cameron), John Randolph (Mayor), Kip Niven (Walter Russell), Scott Hylands (Asst. Caretaker), Tiger Williams (Corry), Donald Moffat (Dr. Harvey Johnson).
A major earthquake hits Los Angeles and various stock characters are thrown into the chaos and destruction. Successful architect Heston argues with his drunken and demanding wife, Gardner, who is also the daughter of his boss Greene.  Bujold is Heston’s distraction from his marriage. Kennedy is a cop suspended for insubordination. Roundtree is an Evel Knievel copyist assisted by Principal. Gortner is a loner army reservist who has fascist tendencies. As the personal dramas are explored, the city is shaken by tremors leading to the inevitable titular event. This is the kind of movie Roland Emmerich has made his fortune producing in more recent times. Here, pre-CGI, the scenes of huge destruction are technically well achieved for the period with some effective matte work and wall-shaking sound (Sensurround was a much-touted new approach to sonics, which ultimately never took). The cast is solid, although Gardner’s histrionics veer toward melodrama. The movie ends abruptly with most of the personal stories left unresolved. Additional footage was shot, without the involvement of Robson, for the 152m TV version.
AA: Best Sound (Ronald Pierce, Melvin M. Metcalfe Sr.); Special Achievement Award for Visual Effects (Frank Brendel, Glen Robinson, Albert Whitlock)
AAN: Best Cinematography (Philip H. Lathrop); Best Art Direction-Set Decoration (Alexander Golitzen, E. Preston Ames, Frank R. McKelvy); Best Film Editing (Dorothy Spencer)

Film Review – THE CONCORDE…AIRPORT ’79 (1979)

THE CONCORDE … AIRPORT ’79 (1979, USA, 113m, PG)
Action, Drama, Thriller
dist. Universal Pictures (USA), Cinema International Corporation (CIC) (UK); pr co. Universal Pictures; d. David Lowell Rich; w. Eric Roth (based on a story by Jenning Lang); pr. Jennings Lang; ph. Philip H. Lathrop (Technicolor | 1.85:1); m. Lalo Schifrin; ed. Dorothy Spencer; pd. Henry Bumstead.
cast: Alain Delon (Capt. Paul Metrand), Susan Blakely (Maggie Whelan), Robert Wagner (Dr. Kevin Harrison), Sylvia Kristel (Isabelle), George Kennedy (Capt. Joe Patroni), Eddie Albert (Eli Sands), Bibi Andersson (Francine), Charo (Margarita), John Davidson (Robert Palmer), Andrea Marcovicci (Alicia Rogov), Martha Raye (Loretta), Cicely Tyson (Elaine), Jimmie Walker (Boisie), David Warner (Peter O’Neill), Mercedes McCambridge (Nelli), Avery Schreiber (Coach Markov), Sybil Danning (Amy), Monica Lewis (Gretchen), Nicolas Coster (Dr. Stone), Robin Gammell (William Halpern).
Based on a story by Jennings Lang read the titles. Lang executive produced the previous films in the series and this is his only writing credit during his long movie career. It would be interesting to know at what point screenplay writer Roth and director Lowell Rich realised they had signed on to such a turkey. Journalist Blakely discovers that her married boyfriend, Wagner, heads a company that is involved in illegal arms sales. To stop her from going public, Wagner decides to bring down the Concorde she is taking from Washington to Moscow via Paris. Pilots Delon and Kennedy, this time in a starring role returning as Joe Patroni, to keep the plane in the air. The preposterous premise plays out even more ludicrously on screen with appalling dialogue and it is hard to determine the unintended from any intended laughs. The earlier entries in the series may have been hokey at times but each had its moments of suspense and drama. This fourth film is poorly assembled and an embarrassment for many of the actors. All this said the film is never boring, as you find yourself laughing at it too much, and therefore not totally wretched. Raye’s final feature film. TV versions run to 132m and incredibly 176m.

Film Review – AIRPORT ’77 (1977)

AIRPORT ’77 (1977, USA, 114m, PG) ***
Action, Drama, Thriller
dist. Universal Pictures; pr co. Universal Pictures; d. Jerry Jameson; w. Michael Scheff, David Spector (based on a story by H.A.L. Craig and Charles Kuenstle and the novel “Airport” by Arthur Hailey); pr. William Frye; ph. Philip H. Lathrop (Technicolor | 2.35:1); m. John Cacavas; ed. Robert Watts, J. Terry Williams; pd. George C. Webb.
cast: Jack Lemmon (Don Gallagher), Lee Grant (Karen Wallace), Brenda Vaccaro (Eve Clayton), Joseph Cotten (Nicholas St. Downs III), Olivia de Havilland (Emily Livingston), Darren McGavin (Stan Buchek), Christopher Lee (Martin Wallace), Robert Foxworth (Chambers), Robert Hooks (Eddie), George Kennedy (Joe Patroni), James Stewart (Philip Stevens), Monte Markham (Banker), Kathleen Quinlan (Julie), Gil Gerard (Frank Powers), James Booth (Ralph Crawford), Monica Lewis (Anne), Maidie Norman (Dorothy), Pamela Bellwood (Lisa), Arlene Golonka (Mrs. Jane Stern), Tom Sullivan (Steve), M. Emmet Walsh (Dr. Williams), Michael Pataki (Wilson).
The second sequel to AIRPORT also takes its lead from THE POSEIDON ADVENTURE as a botched mid-air hijack of multi-millionaire Stewart’s private 747, carrying a collection of priceless works of art, results in the plane crashing into the sea. As the stricken airliner sinks, its passengers and crew, led by pilot Lemmon, are faced with a nightmare fight for survival. Despite the far-fetched nature of its premise, the film manages to deliver a decent number of thrills. The game cast help to sell the scenario, with Lemmon and McGavin delivering convincing performances. The film does have the usual array of stock characters and their domestic baggage, but the action takes centre stage once the plane hits the water and Jameson keeps the tension high through to the finale. Network TV version added additional footage, including deleted scenes and newly shot footage, and runs 182m. Followed by THE CONCORDE… AIRPORT ’79 (1979).
AAN: Best Art Direction-Set Decoration (George C. Webb, Mickey S. Michaels); Best Costume Design (Edith Head, Burton Miller).

Film Review – AIRPORT 1975 (1974)

AIRPORT 1975 (1974, USA, 107m, PG) **½
Action, Drama, Thriller
dist. Universal Pictures; pr co. Universal Pictures; d. Jack Smight; w. Don Ingalls (based on the novel “Airport” by Arthur Hailey); pr. William Frye; ph. Philip H. Lathrop (Technicolor | 2.35:1); m. John Cacavas; ed. Terry Williams; ad. George C. Webb.
cast: Charlton Heston (Alan Murdock), Karen Black (Nancy Pryor), George Kennedy (Joe Patroni), Efrem Zimbalist Jr. (Captain Stacy), Susan Clark (Helen Patroni), Helen Reddy (Sister Ruth), Linda Blair (Janice Abbott), Dana Andrews (Scott Freeman), Roy Thinnes (Urias), Sid Caesar (Barney), Myrna Loy (Mrs. Devaney), Ed Nelson (Major John Alexander), Nancy Olson (Mrs. Abbott), Larry Storch (Glenn Purcell), Martha Scott (Sister Beatrice), Jerry Stiller (Sam), Norman Fell (Bill), Conrad Janis (Arnie), Beverly Garland (Mrs. Scott Freeman), Linda Harrison (Winnie (as Augusta Summerland)), Guy Stockwell (Colonel Moss), Erik Estrada (Julio), Kip Niven (Lt. Thatcher), Charles White (Fat Man), Brian Morrison (Joseph Patroni, Jr.), Amy Farrell (Amy), Irene Tsu (Carol), Ken Sansom (Gary), Alan Fudge (Danton), Christopher Norris (Bette), Austin Stoker (Air Force Sgt.), John Lupton (Oringer), Gene Dynarski (1st. Friend), Aldine King (Aldine), Sharon Gless (Sharon), Laurette Spang (Arlene), Gloria Swanson (Gloria Swanson).
This first sequel to 1970’s AIRPORT follows the same formula. This time an in-flight collision incapacitates the pilots of an airplane bound for Los Angeles. Stewardess Black is forced to take over the controls, whilst on the ground her boyfriend Heston, a retired test pilot, tries to talk her through piloting and landing the 747 aircraft. The all-star cast make up the passengers, but they are a mere diversion from the main action taking place in the plane’s cockpit. Ingalls’ script distributes lines evenly amongst them but to little dramatic effect. The sub-plot regarding Blair’s character, in transit for a kidney transplant, fails to build any drama. Black gives the film’s strongest performance, adeptly conveying the fear and responsibility that rests on her shoulders, whilst Heston delivers his usual square-jawed heroics. The finale, despite its familiarity and inconsistent execution, does create some tension and ultimately the film is a mixed bag lacking the gloss of the original but being more concise. The aerial shots over Heber City, Utah and the Wasatch Mountains are stunningly photographed. Swanson’s final film and she reportedly wrote all her own dialogue. Followed by AIRPORT ’77 (1977).

Film Review – AIRPORT (1970)

AIRPORT (1970, USA, 137m, PG) ***
Drama, Thriller
dist. Universal Pictures; pr co. Universal Pictures / Ross Hunter Productions; d. George Seaton; w. George Seaton (based on the novel by Arthur Hailey); pr. Ross Hunter; ph. Ernest Laszlo (Technicolor | 2.20:1); m. Alfred Newman; ed. Stuart Gilmore; ad. E. Preston Ames, Alexander Golitzen.
cast: Burt Lancaster (Mel Bakersfeld), Dean Martin (Vernon Demerest), Jean Seberg (Tanya Livingston), Jacqueline Bisset (Gwen Meighen), George Kennedy (Patroni), Helen Hayes (Ada Quonsett), Van Heflin (D.O. Guerrero), Maureen Stapleton (Inez Guerrero), Barry Nelson (Anson Harris), Dana Wynter (Cindy), Lloyd Nolan (Harry Standish), Barbara Hale (Sarah Demerest), Gary Collins (Cy Jordan), John Findlater (Peter Coakley), Jessie Royce Landis (Mrs. Harriet DuBarry Mossman), Larry Gates (Commissioner Ackerman), Peter Turgeon (Marcus Rathbone), Whit Bissell (Mr. Davidson), Virginia Grey (Mrs. Schultz), Eileen Wesson (Judy Barton).
The cycle of 1970s all-star, big-budget disaster movies began with this adaptation of Arthur Hailey’s best-selling novel. Lancaster plays the general manager of a Chicago-area airport, who must contend with a massive snowstorm and other issues, both work-related and personal, while the troubled Heflin threatens to blow up an airliner on a flight to Rome piloted by Martin. The first half of the film sets up the characters and their domestic situations and is deliberately paced by Seaton, who uses various split-screen techniques, skilfully edited by Gilmore, to help with pacing. His script is wordy, and dialogue is sometimes stilted as he often feels the need to explain airport protocol through character discussion. Lancaster is imposing and Martin plays the material deadly straight. Kennedy’s confident trouble-shooter, Joe Patroni, would go on to appear in all three sequels. The rest of the cast give solid if often earnest, performances and Hayes won an Oscar for her eccentric stowaway. The tension, aided by Newman’s vigorous score, builds in the final third as Heflin is discovered and the threat to the flight becomes real. The film inexplicably received ten Oscar nominations, but only Hayes picked up an award. Hailey was reportedly paid $500,000 for the screen rights. Henry Hathaway directed some of the outdoor winter scenes uncredited covering for a sick Seaton. This was the final film of both Heflin and Landis. Shot in 70 mm Todd-AO. Followed by three sequels: AIRPORT 1975 (1974), AIRPORT ‘77 (1977), and THE CONCORDE…AIRPORT ’79 (1979).
AA: Best Actress in a Supporting Role (Helen Hayes).
AAN: Best Picture; Best Actress in a Supporting Role (Maureen Stapleton); Best Writing, Screenplay Based on Material from Another Medium (George Seaton); Best Cinematography (Ernest Laszlo); Best Art Direction-Set Decoration (Alexander Golitzen, E. Preston Ames, Jack D. Moore, Mickey S. Michaels); Best Costume Design (Edith Head); Best Sound (Ronald Pierce, David H. Moriarty); Best Film Editing (Stuart Gilmore) and Best Music, Original Score (Alfred Newman).

Film Review – THE BLACK WINDMILL (1974)

THE BLACK WINDMILL (1974, UK/France, 106m, 12) ***
Action, Crime, Thriller
dist. Universal Pictures (USA), Cinema International Corporation (CIC) (UK); pr co. Universal Pictures; d. Don Siegel; w. Leigh Vance (based on the novel “Seven Days to a Killing” by Clive Egleton); pr. Don Siegel; ph. Ousama Rawi (Technicolor | 2.35:1); m. Roy Budd; ed. Antony Gibbs; ad. Peter Murton.
cast: Michael Caine (Maj. John Tarrant), Donald Pleasence (Cedric Harper), Delphine Seyrig (Ceil Burrows), Clive Revill (Alf Chestermann), John Vernon (McKee), Joss Ackland (Chief Supt. Wray), Janet Suzman (Alex Tarrant), Catherine Schell (Lady Melissa Julyan), Joseph O’Conor (Sir Edward Julyan), Denis Quilley (Bateson), Derek Newark (Monitoring Policeman), Edward Hardwicke (Mike McCarthy), Maureen Pryor (Jane Harper), Joyce Carey (Miss Monley), Preston Lockwood (Ilkeston), Molly Urquhart (Margaret), David Daker (MI5 Man), Hermione Baddeley (Hetty), Patrick Barr (Gen. St. John).
A perfectly competent spy thriller vehicle for Caine who plays a British agent whose son is kidnapped and held for a ransom of diamonds. Caine discovers he can’t even count on the people he thought were on his side to help him, so he decides to track down the kidnappers himself. Siegel directs with his usual economy, but the story never really pulls the viewer in. The shadowy nature of Caine’s world means there is little investment in character and motivation. This means the kidnap element of the plot lacks the tension that it deserves. That said the cast is solid and Pleasence has fun inventing fussy mannerisms as Caine’s immediate superior. Vernon is as reliable as ever in the chief villain role as are some familiar British actors and the finale, in the titular windmill, is excitingly staged. A professional job, but one lacking an emotional heart.

Film Review – THE ADVENTURES OF ROBIN HOOD (1938)

THE ADVENTURES OF ROBIN HOOD (1938, USA, 106m, U) *****
Action, Adventure, Romance
dist. Warner Bros.; pr co. First National Pictures / Warner Bros.; d. Michael Curtiz, William Keighley; w. Norman Reilly Raine, Seton I. Miller; pr. Hal B. Wallis, Jack L. Warner (both uncredited); ph. Tony Gaudio, Sol Polito (Technicolor | 1.37:1); m. Erich Wolfgang Korngold; ed. Ralph Dawson; ad. Carl Jules Weyl.
cast: Errol Flynn (Robin Hood), Olivia de Havilland (Maid Marian), Basil Rathbone (Sir Guy of Gisbourne), Claude Rains (Prince John), Patric Knowles (Will Scarlett), Eugene Pallette (Friar Tuck), Alan Hale (Little John), Melville Cooper (High Sheriff of Nottingham), Ian Hunter (King Richard the Lion-Heart), Una O’Connor (Bess), Herbert Mundin (Much), Montagu Love (Bishop of the Black Canons), Leonard Willey (Sir Essex), Robert Noble (Sir Ralf), Kenneth Hunter (Sir Mortimer), Robert Warwick (Sir Geoffrey), Colin Kenny (Sir Baldwin), Lester Matthews (Sir Ivor), Harry Cording (Dickon Malbete), Ivan F. Simpson (Proprietor of Kent Road Tavern).
Not only the definitive Robin Hood movie, but one of the all-time great adventure films and highly influential on George Lucas and his STAR WARS saga. When King Richard the Lionheart is captured, his scheming brother Prince John (Rains). aided by Sir Guy of Gisbourne (Rathbone), plots to reach the throne, to the outrage of Sir Robin of Locksley (Flynn), the bandit king of Sherwood Forest. Rounding up his band of men he eventually wins the support of the lovely Maid Marian (de Havilland). Filmed in three-strip Technicolor, this is a sumptuous production full of verve and pomp. Flynn is perfect as the energetic and charismatic Robin. He has the ideal cast in support, from the calculating Raines to the poise of the sadistic Rathbone and the sensitive beauty of de Havilland. The set design and matte work are first-rate for the period, whilst Dawson’s slick editing and Korngold’s boisterous score add significantly to the production. Milo Anderson’s costumes are designed to maximise the use of the Technicolor process. The climactic swordfight between Flynn and Rathbone is inventive and often hailed as one of the best filmed. Curtiz replaced Keighley as director of the film to add vigour to the action scenes. The film won 3 Oscars: Best Soundtrack, Editing and Art Direction (Carl Jules Weyl). The film was entered into the National Film Registry for its culturally, historically, or aesthetically significance in 1995.
AA: Best Art Direction (Carl Jules Weyl), Best Film Editing (Ralph Dawson), Best Music, Original Score (Erich Wolfgang Korngold)
AAN: Best Picture

Film Review – THE STONE KILLER (1973)

THE STONE KILLER (1973, USA, 95m, 15) ***
Action, Crime, Drama, Thriller
dist. Columbia Pictures (USA), Columbia-Warner Distributors (UK); pr co. Dino de Laurentiis Cinematografica / Produzioni Cinematografiche Inter. Ma. Co. / Rizzoli Film; d. Michael Winner; w. Gerald Wilson (based on the novel “A Complete State of Death” by John Gardner); pr. Michael Winner; ph. Richard Moore (Technicolor | 1.85:1); m. Roy Budd; ed. Frederick Wilson; ad. Ward Preston.
cast: Charles Bronson (Lou Torrey), Martin Balsam (Al Vescari), Jack Colvin (Jumper), Paul Koslo (Langley), Norman Fell (Les Daniels), David Sheiner (Guido Lorenz), Stuart Margolin (Lawrence), Ralph Waite (Mathews), Alfred Ryder (Tony Champion), Walter Burke (J D), Kelley Miles (Geraldine Wexton), Eddie Firestone (Armitage), Charles Tyner (Police Psychiatrist), Byron Morrow (Station Commander), Lisabeth Hush (Dr. Helen Torrey), Frank Campanella (Calabriese), Gene Woodbury (Paul Long), Robert Emhardt (Fussy Man), David Moody (Gus Lipper), John Ritter (Hart).
A decent gritty action thriller vehicle for Bronson as a police detective who learns a 1930s mobster (Martin Balsam) has formed a killer elite to settle an old gangland score. Winner handles the tough and violent action scenes well, but he is less adept with the actors, who give variable performances. The location shifts from New York to Los Angeles are jarringly edited at times and the screenplay lacks clarity of focus. Roy Budd’s energetic score helps to keep things moving and the climactic shootout is well-staged. John Gardner’s 1969 source novel was set in the UK.

Film Review – JAWS: THE REVENGE (1987)

JAWS: THE REVENGE (1987, USA, 89m, 12) **
Adventure, Thriller
dist. Universal Pictures; pr co. Universal Pictures; d. Joseph Sargent; w. Michael De Guzman (based on characters created by Peter Benchley); pr. Joseph Sargent; ph. John McPherson (DeLuxe | 2.35:1); m. Michael Small; ed. Michael Brown; pd. John J. Lloyd; ad. Donald B. Woodruff.
cast: Lorraine Gary (Ellen Brody), Lance Guest (Michael Brody), Mario Van Peebles (Jake), Karen Young (Carla Brody), Michael Caine (Hoagie), Judith Barsi (Thea), Mitchell Anderson (Sean Brody), Lynn Whitfield (Louisa), Jay Mello (Young Sean Brody), Cedric Scott (Clarence), Charles Bowleg (William), Melvin Van Peebles (Mr. Witherspoon), Mary Smith (Tiffany), Edna Billotto (Polly), Fritzi Jane Courtney (Mrs. Taft), Cyprian R. Dube (Mayor), Lee Fierro (Mrs. Kintner), Moby Griffin (Man in the Boat), Diane Hetfield (Mrs. Ferguson), Daniel J. Manning (Jesus).
Whilst not as bad as its reputation, this third sequel to 1975’s JAWS becomes increasingly preposterous and unravels totally in its final act. The family of widow Ellen Brody (Gary) has long been plagued by shark attacks, and this unfortunate association continues when her youngest son Sean (Anderson) is the victim of a massive great white. In mourning, Ellen goes to visit her other son, Michael (Guest), in the Bahamas, where she meets the charming pilot Hoagie Newcombe (Caine). As Ellen and Hoagie begin a relationship, a huge shark appears off the coast of the island, and Ellen’s trouble with the great whites begins again. The premise presented here through Gary’s paranoia is that the shark is targeting the Brody family. Whilst this is never overtly stated as the reason for the latest attacks, the lack of any logical alternative explanation leaves the film dependant on our willingness to suspend our disbelief. The film is well presented in its early scenes in Amity. When the action moves to the Bahamas, the exotic location makes for some nice photography both above and below the surface. Caine offers up a likeable performance, whilst Gary does her best to persuade us her fears are grounded. Sargent then loses total control of the film in its finale, which is hampered by poor effects work and haphazard editing, which stifle any potential build of tension. Reminders of the masterly original only serve to confirm how low the series had sunk since that classic tale of character and suspense.